List of Concert Arias, Songs and Canons By Wolfgang Amadeus Mozart - Songs - Canons

Canons

K1 K6 Composition, score and critical report (NMA) Librettist Date
8989 73k "Kyrie in G" (Score)
Kyrie a cinque con diversi canoni
liturgical text 1770-05May 1770
089a89a II 73r "Four Riddle Canons" (Score)
Sit trium series una: Incipe Menalios for 3 voices;
Ter ternis canite vocibus: Cantate Domino for 9 voices;
Canon ad duodecimam: Confitebor tibi Domine for 3 voices;
Canon. Ter voce ciemus: Thebana bella for 6 voices
unknown 1770-07Summer 1770
089a89a 73i "Canon for 4 instruments" (Score) 1770-04April 1770
228228 515b "Ach! zu kurz" (Score)
Double canon for 4 voices
unknown 1787-04-24before 24 June 1787
229229 382a "Sie ist dahin" (Score)
Canon for 3 voices
Ludwig Heinrich Christoph Hölty (1748–1776) 1782--1782
230230 382b "Selig, selig" (Score)
Canon for 2 voices
Ludwig Heinrich Christoph Hölty (1748–1776) 1782--1782
231231 382c "Leck mich im Arsch" / "Lasst uns froh sein") (Score)
Canon for 6 voices
probably WA Mozart himself 1782--1782
232232 509a "Lieber Freistädtler, lieber Gaulimauli" (Score)
Canon for 4 voices
probably WA Mozart himself 1787-07-04after 4 June 1787
233233 382d "Leck mir den Arsch fein recht schön sauber" (Score)
/ "Nichts labt mich mehr als Wein" – Canon for 3 voices
probably WA Mozart himself 1782--1782
234234 382e "Bei der Hitz im Sommer eß ich" (Score)
/ "Essen, Trinken" – Canon for 3 voices
probably WA Mozart himself 1782--1782
347347 382f "Wo der perlende Wein im Glase blinkt" (Score)
Canon for 6 voices
unknown 1782--1782
348348 382g "V'amo di core" (Score)
Quadruple canon for 12 voices (3 choirs)
unknown 1782--1782
deest01deest 1. "Canon for 6" (sketch) (Score) 1782--1781/82 or later
deest02deest 2. "Canon for 4" (sketch) (Score) 1782--1781/82 or later
deest03deest 3. "Canon for 4" (sketch) (Score) 1782--1781/82 or later
deest04deest 4. "Canon for 4" (sketch) (Score) 1785-99end of 1785/1786
507507 "Heiterkeit und leichtes Blut" (Score)
Canon for 3 voices
1786-06-03after 3 June 1786
508508 "Auf das Wohl aller Freunde" (Score)
Canon for 3 voices (sopranos)
unknown 1786-06-03after 3 June 1786
508a 508a 2 canons for 3 sopranos / 14 Interval canons (Score)
Canons for various voices (sketches)
1786-06-03after 3 June 1786
deest06deest 6. "Canon for 3" (sketch) (Score) 1786-06-03after 3 June 1786
deest07deest 7. "Canon for 2" (sketch) (Score) 1786-06-03after 3 June 1786
deest00deest "Canon for 4" (Score) 1786-07Summer 1786
553553 "Alleluia" (Score)
Canon for 4 voices
liturgical text 1788-09-022 September 1788
554554 "Ave Maria" (Score)
Canon for 3 voices
liturgical text 1788-09-022 September 1788
555555 "Lacrimoso son'io" (Score)
Canon for 4 voices
liturgical text 1788-09-022 September 1788
556556 "Grechtelt's enk" (Score)
Canon for 4 voices
unknown 1788-09-022 September 1788
557557 "Nascoso è il mio sol" (Score)
Canon for 4 voices
unknown 1788-09-022 September 1788
558558 "Gehn wir im Prater, gehn wir in d'Hetz" (Score)
Canon for 4 voices
unknown 1788-09-022 September 1788
559559 "Difficile lectu mihi mars" (Score)
Canon for 3 voices
probably WA Mozart himself 1788-09-022 September 1788
560a560a 559a "O du eselhafter Peierl" (Score)
Canon for 3 voices
probably WA Mozart himself 1786--between 1785 and 1787
560b560b 560 "O du eselhafter Martin (Jakob)" (Score)
Canon for 4 voices
probably WA Mozart himself 1788-09-022 September 1788
deest09deest 9. "Canon for 4" (sketch) (Score) 1787--1787 or 1788
deest10deest 10. "Canon for 4" (sketch) (Score) 1787--1787 or 1788
deest11deest 11. "Canon for 4" (sketch) (Score) 1787--1787 or 1788
561561 "Bona nox! bist a rechta Ox" (Score)
Canon for 4 voices
WA Mozart 1788-09-022 September 1788
562562 "Caro bell' idol mio" (Score)
Canon for 4 voices
unknown 1788-09-022 September 1788
562a 562a "Canon for 4" (Score) 1788--unknown
562c 562c "Canon for 4 Instruments" (Score)
Canon for 2 violins, viola, bass
1788--unknown
616b 616b "Canonical Study for 4" (Score) 1787-07Summer 1787

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Famous quotes containing the word canons:

    Unless criticism refuses to take itself quite so seriously or at least to permit its readers not to, it will inevitably continue to reflect the finicky canons of the genteel tradition and the depressing pieties of the Culture Religion of Modernism.
    Leslie Fiedler (b. 1917)